Slipped Discs

Emiliana Torrini - Tookah

Painting bewitching pictures in post-millennial folk-pop, “Tookah,” produces an organic assortment of slinky jazz-chick calypso, willowy astral-ballads and sleek dance-beat rallies. A cross-pollinating angel piloting gentle landings under starry skies, Torrini’s cabaret princess carves delicious candle-lit synthesis slithering in flickering rhythms; silky, electro-pixie whimsy spins sophisticated dangers into sumptuous comforts as ravishing passions coated in mischievous teases net refreshing pleasures.

kwes. - ilp

Sensitive, tentative, lava-lamp samples twisted around cautious, spotless ominous sonics, “ilp,” sculpts spectacularly tactile fragments into immaculate cinematic packages carefully crafted in humble wonder. Vacuum-packed catalysts dissolve in a dramatic smattering of abstract clatter as head-swelling velvet coats well-placed bass. Diagnosed with sound-to-color synaesthesia, kwes melts languid spaces into thoughtful processes with a deft R&B vibe suited to late-night grooves.

Fox and the Bird - Darkest Hours

Humble tumbleweed homilies roasted in toasty campfire harmonies, cantering banjo banter, well-placed brass and slithering fiddle, “Darkest,” parlays a cozy homage to downtrodden commoners with robust busking cloaked in chamber-folk charm. Sorting through lonesome stories, cavorting in kind-hearted tales, FATB’s punchy, frontier fables resonate in tender remembrances, sage advice and friendly encouragements with a light touch and a steady hand.

New Bums - Voices In A Rented Room

A well-massaged barrage from time-tripping minstrels baptize proto-folk notions drifting in fancy meandering tangents; “Rented,” channels dueling acoustic blues through unfolding doldrums, tangled jangle and subtle Spanish trances. San Francisco’s NB quietly pilots sad, casual mind-benders through intricate kismet as languid macramé precision meets slow to mid-tempo mementos, drizzling weary, wilted heartache among sharp, smart guitars and drowsy still-water harmonies.

Withered Hand - New Gods

Casually compassionate, disseminating infectious revelations in vagabond sing-alongs, Scotland’s wise and enterprising Withered Hand manages to candidly span lovelorn storms with meditative playfulness. Rambling folk jangle and zesty zydeco mojo makes for tuneful ruminations wound around homespun hope and pop-rock sounds as the beautifully exuberant and tenderly Dickensian, “Gods,” lodges its chronic honesty in rich, pithy passages and boisterous choruses

Alexander Turnquist - Flying Fantasy

Twelve-string inspirations arranged around classical instruments and modern electronics; master guitarist Turnquist composes sparkling armor whose tight-knit bliss calm and excite, curious flurries that circle and take flight. Stirring churning murmurs, “Fantasy,” gallantly dallies; Zen engines bending and blending into dappled catacombs; mystical, cyclical hives buzzing in resounding rounds, doused in quivering rhythms and plucked like weeds from still-water dreams.

Itasca - Unmoored by the Wind

Diaphanous old-world folk, Itasca’s singular picking, sophisticated visions and fearless lyrics weave caressing investigations into candle-lit fairyland dances, folding post-hypnotic layers of murky memories into bewitching pond-water ripples trickling in wintry introspection. Wandering through sweet twilight-inspired delights whose exquisite clockwork searches cloak endless questions, “Unmoored,” explores ghostly foreboding within magical acoustic madrigals, dissecting enduring desires lost, squandered in romantic longing.

Pieta Brown - Paradise Outlaw

Recorded in Bon Iver’s Wisconsin studio, “Outlaw,” echoes in abandoned canyons, riding lively gypsy rivers down to lazy pools of mountain-blues. Creaky swamp-waltzes canter and meander as Brown’s pliable folk-bop juggle love-note lullabies and cautionary propositions through hand-holding coaxing and coy phantom incantations. An amiable auteur adept at story and song, Pieta performs October 17th at the Stoughton Opera House.

Run Boy Run - Something to Someone

A jaw-dropping combination of Gaelic bluegrass and mountaintop chamber-folk the Arizona quintet’s fiddles, mandolins, cello, bass and guitars borrow from history-rich traditions to foster a scholarly hodgepodge underwritten in moonshine and molasses. Led by strong female harmonies and nimble pickin’, “Something,” skips past rootsy troubadours to branch into torch-song confidants sauntering in enchanting shanties, worldly-wise Americana and twinkling Texas swing.

The Singer and the Songwriter - What a Difference a Melody Makes

In a swish of delicious retro-pop gossamer, TSATS’ modern take on romantic banter adds tangy flames to cozy taffeta jazz basking in attractive bop, savvy appetites and enamored glamour. Primed in sophisticated mischief, “Difference,” polishes posh thoughts into bewitching whimsy for a suave hurrah to witty simplicity, effectively selecting choice chords steeped in breezy, matriarchal sparkle and cavalier, chandelier swing.

Thompson - Family

Captained by brother, son and uncle, Teddy, several talented Thompson tribesmen wrote two songs each cobbling accompaniments from spouses and siblings for a collaborative tag-team breeding top-notch folk-blues swaddled inside headstrong harmonies atop wickedly fidgety guitar-licks. Spinning cynical sing-alongs against co-dependent sentiment, the clan bands together giving, “Family,” a fierce independence, hoppin’ and sobbin’ over rocky relations and tender-hearted sanctions.

Elephant Micah - Where in our Woods

Both solitary canary and tender defender, Joseph O’Connell’s faultless alter-ego Elephant Micah calmly underscores a modern, deeply personal folklore whose mythical blitz beneath tranquil bliss weave stirring sermons from woodland prayers. Methodical homilies wrapped around finger-picked guitar, free-floating flute and campfire drums, “Woods,” seeps into hurdy-gurdy consciousness with passive, pastoral choruses carved from kind benevolence, poised reflection and cautious modesty.

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